Genre > Jazz

Anyone got a serious case of the blues? In need of the anecdote? Here we get, quite possibly, the greatest blues album of the last forty years. Fleetwood Mac (of the Peter Green era variety) are in the studio with blues greats Otis Span, Willie Dixon, Honey Boy Edwards, Buddy Guy, Walter ‘Shakey’ Horton and many other artists too numerous to mention. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must own for all serious collectors. Remastered from the original master tapes on beautiful 180g German vinyl. The sound quality is awesome! Excellent pressing and all original art work included.

Side One
1. Watch Out
2. South Indiana - Take 1
3. South Indiana - Take 2
4. Last Night
5. Red Hot Jam

Side Two
6. I'm Worried
7. I Held My Baby Last Night
8. Madison Blues
9. I Can't Hold
10. I Need Your Love
11. I Got the Blues

Side Three
12. World's in a Tangle
13. Talk with You
14. Like it This Way
15. Someday Soon Baby
16. Hungry Country Girl

Side Four
17. Black Jack Blues
18. Everyday I Have the Blues
19. Rockin' Boogie
20. Sugar Mama
21. Homework

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Georgie Fame’s music mixes jazz with Rn’B and pop to make music that is at once credible with critics and jazz opinion formers and the general public. Playing piano and organ and singing he has good time feel to his jazz that puts one in mind of the likes of Mose Allison, Brooker T and Louis Jordon. On this album from 1968 he is backed by the likes of John Mc Laughlin, Gordon Beck, Tony Coe Ronnie Scott. Includes ‘The Ballad Of Bonny and Clyde. Excellent pressing.

1. The Ballad of Bonnie and Clyde
2. When I'm Sixty Four
3. Ask Me Nice
4. Exactly Like You
5. Someone to Watch Over Me
6. Blue Prelude
7. Bullets Laverne
8. This is Always
9. Side By Side
10. St. James Infirmary
11. Mellow Yellow

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If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well. This is a LP of Gil Evans rearranging classic jazz standards like "St. Louis Blues," "King Porter Stomp" and "Lester Leaps." It's an LP you can enjoy as a peek into modern jazz of the late '50s, or as a set of very interesting big band orchestrations.

1. St Louis Blues
2. King Porter Stomp
3. Willow Tree
4. Struttin’ With Some Barbecue
5. Lester Leaps In
6. ‘Round Midnight
7. Manteca
8. Bird Feathers

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Recorded in NYC in 1971 this was BlueNote’s first venture into the world of the soundtrack, more specifically, a Blaxploitation soundtrack. Grant Green heads up a big band of top session guys like Cornell Dupree (organ) and Grady Tate(drums). The music is by definition episodic and varied in tempo and mood according to the dictates of the movie. Grant plays with his usual taste and economy adding a lot of jazz feeling to what is otherwise a pretty funky affair. ‘The Final Comedown’ is an inspired choice and an enjoyable one at that. Record cut at RTI and Germany making for a very high quality product indeed.

1. Past, Present And Future
2. The Final Comedown
3. Father's Lament
4. Fountain Scene
5. Soul Food - African Shop
6. Slight Fear And Terror
7. Afro Party
8. Luanna's Theme
9. Battle Scene
10. Traveling To Get To Doc
11. One Second After Death

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This 1978 meeting between pianist Earl Hines and trumpeter Harry "Sweets" Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel right from the opening number, a strident take of "I Cover The Waterfront," with plenty of trills by Hines in support of Edison's brilliant open horn. There is nothing like two veterans at the top of their game joining forces for a record date.

1. I Cover the waterfront
2. Just squeeze me
3. But not for me
4. Just you just me
5. Mean to me
6. I surrender dear
7. The one I love belongs to somebody else

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The solo referred to in the title, God Bless My Solo, is that in the 80-second masterpiece "Flying Home" and it became one of the two or three most influential solos in all of jazz history. Nearly every tenor player who followed made it a priority to learn that solo, note for note. But "Flying Home" marked neither the beginning nor the end of Illinois Jacquet's seven-decade career. He was one of jazz's great survivors, thought of as an outrageous musician when he was young but hailed as a classic figure in old age. He was as effective with romantic jazz ballads as he was with the explosive performances with which he made his reputation. Tenor saxophonist Illinois Jacquet is heard in top form throughout this quartet set, recorded for the French Black & Blue label, while touring throughout Europe in the 1970s.

1. Jean-Marie’s Den
2. You left me all alone
3. Lean baby
4. God bless my solo
5. Things ain’t what they used to be
6. From Broussard

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Imitation is the highest form of flattery, but don’t be fooled! Only the Original Master Sleeves from Mobile Fidelity Sound Lab offer the finest protection for your valuable records. These imported, three-ply, anti-static, premium record sleeves have been used in MFSL LP packaging for decades and now you can use them to care for all your vinyl!

Small Cut-out slit on Cover

1. Brother Jim
2. Ill Wind
3. Rythm-a-ning
4. Sudden Death
5. How High the Moon
6. Back to Bologna
7. Sleeves
8. Lullaby of the Leaves
9. The Weasel

1. St. Phillip Street Breakdown
2. Salty Dog
3. The Old Rugged Cross
4. Red Wing
5. Lou-Easy-An-I-A
6. Careless Love
7. Weary Blues
8. Bill Bailey
9. Tin Roof Blues
10. Dipper Mouth Blues
11. It's A Long, Long Way To Tipperary
12. Bugle Call Rag

Jim Hall's Concierto was arguably the greatest LP in the history of CTI and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's 'Guitar Concerto,' arranged by Don Sebesky. New tracks include alternate takes of 'You'd Be So Nice To Come Home To' and 'Rock Skippin',' plus 'Unfinished Business,' an incomplete track that fades following Desmond's solo just as Hall starts to play.

1. You'd Be So Nice To Come Home To
2. Two's Blues
3. The Answer Is Yes
4. Concierto de Aranjuez
5. Rock Skippin'
6. Unfinished Business

Bonus Tracks
7. You'd Be So Nice To Come Home To (alternate take)
8. The Answer Is Yes (alternate take)
9. Rock Skippin' (alternate take)

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'The excellence of Louis' band is so high and so consistent that every man deserves commendation for his part in making this remarkably fine record. Trummy Young particularly should be singled out for his driving solos and for the way his 'boots' Louis in the final ensembles. The way I fell about this record can be summed up in this way. When I die, I want people to say, 'That's the guy that if it hadn't been for him and Louis Armstrong and W.C. Handy, there wouldn't have been that great record, Louis Armstrong Plays W.C. Handy.'' – excerpt from the sleeve notes by George Avakian

1. St Louis Blues
2. Yellow Dog Blues
3. Loveless Love
4. Aunt Hagar’s Blues
5. Long Gone (From Bowling Green)
6. Memphis Blues
7. Beale Street Blues
8. Ole Miss Blues
9. Chantez Les Bas (Sing ‘Em Low)
10. Hesitating Blues
11. Atlanta Blues (Make Me One Pallet On Your Floor)
12. George Avakian’s Interview With W.C. Handy
13. Loveless Love (rehearsal sequence)
14. Hesitating Blues (rehearsal sequence)
15. Alligator Story
16. Long Gone (From Bowling Green) (rehearsal sequence)

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Babes in the Wood is Mary Black’s finest, most consistently pleasing album. There is no filler here, and her song selection, culled from new songwriters such as Noel Brazil and classic folkies such as Richard Thompson, is impeccable. The acoustic arrangements (including guitar, piano, mandolin, Dobro and accordion) are carried out by her longtime backing musicians, although the music has a decidedly more pop than Celtic flavor on this album.

1. Still Believing
2. Bright Blue Rose
3. Golden Mile
4. Babes in the Wood
5. The Thorn upon the Rose
6. Just Around the Corner
7. Brand New Star
8. Prayer for Love
9. Adam at the Window
10. The Dimming of the Day
11. Might as Well Be a Slave
12. The Urge for Going

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'This is a classic. At a time when the civil rights movement was starting to heat up, drummer Max Roach performed and recorded a seven-part suite dealing with black history (particularly slavery) and racism. 'Driva' Man' has a powerful statement by veteran tenor Coleman Hawkins and there is valuable solo space elsewhere for trumpeter Booker Little and trombonist Julian Priester, but it is the overall performance of Abbey Lincoln that is most notable. Formerly a nightclub singer, Lincoln really came into her own under Roach's tutelage and she is a strong force throughout this intense set. On 'Tryptich: Prayer/Protest/Peace,' Lincoln is heard in duets with the drummer and her wrenching screams of rage are quite memorable. This timeless protest record is a gem.' – Scott Yanow

1. Driva Man
2. Freedom Day
3. Triptych: Prayer
4. Protest
5. Peace
6. All Africa
7. Tears For Johannesburg

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Nancy Wilson is a vocalist who is as versatile as she is sultry and swinging. Her music incorporates jazz, soul, pop, blues and even a little bit of country. Appearing along side George Shearing and Cannonball Adderley on several albums from the 1960’s a soulful jazz influence is vibrantly alive in her vocals and music. She is always persuasive and to the point, what ever her setting and especially on this album. The star track is of course “Son Of A Preacher Man”, where Nancy gets down and funky, her voice full of yearning and passion- she’s cooking. But don’t be fooled by this one super hit, the rest of the album has several more gems and funky classics for the listener, and vibrant instrumentals throughout. Available on the fine 180g Pure Pleasure label out of Germany, she has never sounded quite as vibrant and lush!!!

1. Son of a Preacher Man
2. By the Time I Get to Phoenix
3. Mr. Walker It's All Over
4. I Made You This Way
5. Almost Persuaded
6. Got It Together
7. Make the World Go Away
8. Husbands and Wives
9. Little Green Apples
10. Trouble in Mind

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Nat 'King' Cole's music is the perfect combination of romantic charm and musical invention. Cole is renowned for his big production numbers and pop hits such as 'Stardust,' but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a 'trio' release. However, Cole is actually paired up with his trio plus five guest soloists (saxophone, trombone, trumpet, percussion and violin). The dubious credits don't matter much though. This is precious music and, without a doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favorites like'Sweet Lorraine,' '(Get Your Kicks on) Route 66' and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune 'Caravan,' and Cole and violinist Stuff Smith trade some hot licks on the up-tempo 'I Know That You Know.' For anybody looking to understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure. Mastered by Steve Hoffman and Kevin Gray.

1. Just You, Just Me
2. Sweet Lorraine
3. Sometimes I'm Happy
4. Caravan
5. It's Only a Paper Moon
6. You're Looking at Me
7. The Lonely One
8. Don't Let it Go to Your Head
9. I Know That You Know
10. Blame it on my Youth
11. When I Grow too Old to Dream
12. Route 66
13. I Was a Little too Lonely (and You Were a Little too Late)
14. Your Can Depend on Me
15. What is There to Say
16. Two Loves Have I
17. andy
18. You're Looking at Me (alternate take)

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The reunion that took place in this 1961 session was between Russell and tenor-great Coleman Hawkins; they had first recorded one of the songs, ('If I Could Be with You') back in 1929. Both Hawk and Russell had remained modern soloists and on this unusual but very satisfying date (which also features trumpeter Emmett Berry and trombonist Bob Brookmeyer) they explore such numers as a pair of Ellington classics ('All Too Soon' and 'What Am I Here For?'), two Russell originals, and even the boppish 'Tin Tin Deo.

1. If I Could Be With You (One Hour Tonight)
2. Tin Tin Deo
3. Mariooch
4. All Too Soon
5. 28th And 8th
6. What Am I Here For

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Peggy Lee was three decades into her career by the time of this 1969 classic, one of the best-selling albums of her incredible career. She definitely could still bring it. Every tune here is a keeper, including a remake of Lee's own 1940 hit 'Don't Smoke In Bed' as well as covers of George Harrison's 'Something,' Neil Diamond's 'Brother Love's Traveling Salvation Show' and Randy Newman's 'Love Story.' But the real treasure is the title track, a Newman arrangement of a Leiber & Stoller song.

1. Is That All There Is?
2. Love Story
3. Me and My Shadow
4. My Old Flame
5. I'm a Woman
6. Brother Love's Travelling Salvation Show
7. Something
8. Whistle for Happiness
9. Johnny (Linda)
10. Don't Smoke in Bed

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Just how funky and swinging are you? What ever your funk/swing quotient after having Mr. Ramon Morris on your turntable you’ll be certain to achieve a new level of consciousness that can only be defined as ‘far out’. Ramon Morris is a fluid saxophonist with a taste for soulful licks and melodic lines. He recorded with Art Blakey and Woody Shaw. He now teaches at the Carnegie –Mellon in Pittsburgh USA. As a performer he deserves to have been more widely heard and recorded. This rare LP from Groove Merchant (1973) is an eight track set of tuneful, foot tappin’ jazz, funk and soul instrumentals that are reminiscent of what Deodarto was doing around the same time over at CTI. There is plenty of funky ‘walking’ bass and attractive electric piano. You’ll also hear some good trumpet support from Cecil Bridgewater and nice conga work from Tony Waters throughout. Sweet Sister Funk is an extremely listenable album. Mastered at Acoustec and pressed in Germany, this high quality release is not to be missed.

1. First Come, First Serve
2. Wijinia
3. Sweet Sister Funk
4. Sweat
5. Don't Ask Me
6. Lord Sideways
7. People Make the World Go Round

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Starting with the gospel and bop according to Thelonious Monk, Randy Weston gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance marked by a stabbing quality reminiscent of, but not totally indebted to Monk. This album combines Weston’s rhythmically intriguing explorations with the Ellington-like arrangements of Melba Liston and represented a high point in his career at the time. All of the tunes written by Weston were inspired by his children Niles and Pamela. The innocence, excitement, anticipation and tension of childhood are all displayed here in these warm vinyl grooves.

1. Earth Birth
2. Little Susan
3. Nice Ice
4. Little Niles
5. Pam’s Waltz
6. Babe’s Blues
7. Let’s Climb a Hill

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This 1949 session from one of the all-time jazz greats (female or otherwise) features fellow heavyweights Miles Davis, Freddie Green and Budd Johnson among others. Vaughan recorded for Columbia between 1949 and 1952, yet only two LPs were ever released from the many tracks she produced during that period: the strings-only Afterhours and the present Sarah Vaughan In Hi-Fi, which is a more jazz-oriented collection. These are, without question, some of Vaughan's finest recordings. Hear her in her prime.

1. East Of The Sun (And West Of The Moon)
2. Nice Work If You Can Get It
3. Pinky
4. The Nearness Of You
5. Come Rain Or Come Shine
6. Mean To Me
7. It Might As Well Be Spring
8. Can’t Get Out Of this Mood
9. Spring Will Be A Little Late This Year
10. Ooh, What ‘Cha Doin’ To Me
11. Goodnight My Love
12. Ain’t Misbehavin’
13. It’s All In The Mind
14. The Nearness Of You (alternate take)
15. Ain’t Misbehavin’ (alternate take)
16. Goodnight My Love (alternate take)
17. Can’t Get Out Of this Mood (alternate take)
18. It Might As Well Be Spring (alternate take)
19. Mean To Me (alternate take)
20. Come Rain Or Come Shine (alternate take)
21. East Of The Sun (And West Of The Moon) (alternate take)

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Jazz drummers from the West Coast, whether we are talking about Shelly Manne, Mel Lewis or Chuck Flores, had few opportunities to demonstrate the whole range of their art. And the Chico Hamilton formations of the Fifties were no exception. It was only with the mixture of jazz and Latin music as performed by the new Chico Hamilton Formation in 1965 that percussionists came into the limelight.The Hungarian Gabor Szabo and his electric guitar must surely have been the second great discovery for many jazz fans. Imbued with the adaptability and flexibility of his native land, he was even able to set his own hallmark in the field of Latin-American music.The titles on this LP are well balanced between compositions by Chico Hamilton himself and film and musical hits. “People”, for example, is from “Funny Girl” with Barbra Streisand. This is Chico Hamilton’s first album with Latin percussion and it is to his credit that he was able to get hold of one of the very best musicians as support, namely Willie Bobo.

“El Chico”, the boy who wanders the streets, offering his wares in a loud voice, is the title of the album. But shouting out the virtues of his wares was not for Chico Hamilton and so this album has remained a real hot tip. Luckily things have changed! Latin rhythms are all the rage these days, especially when played by Chico Hamilton and his septet and offered in such excellent quality as on this re-release.

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Birds of a feather flock together! If this adage really held true, then the “grande dame” of swing and the pianist would surely not have waited until they were at the very peaks of their tremendous careers to make this recording. Third in the line-up of top musicians from the American jazz scene is Quincy Jones whose arrangements are uniquely suited to Ella’s unmatched voice and the Count’s big-band sound and which allow each artist’s individuality to shimmer through unhindered.

Classical evergreens such as Honeysuckle Rose, Tea for Two and Ain't Misbehavin’ are the topics of exciting musical conversation here; these and other favourite melodies are enhanced with the gentle sound of the saxophone and razor-sharp screams on the trumpet, lending them a quite new aspect. By no means neglecting the proverbial striking force and precision of the Basie style, the arrangements offer plenty of scope for Ella’s dusky voice and her highly popular “ba-ba-lu-ba” sections. Fortunately, the sound on this VERVE recording is situated “on the sunny side of the street”. The immediate presence of the vocal part, a fresh instrumental timbre and a pleasantly dry playhouse atmosphere all guarantee sheer delight for listeners to this collector’s item.

1. Honeysuckle Rose
2. 'Deed I Do
3. Into Each Life Some Rain Must Fall
4. Them There Eyes
5. Dream a Little Dream of Me
6. Tea for Two
7. Satin Doll
8. I'm Beginning to See the Light
9. Shiny Stockings
10. My Last Affair
11. Ain't Misbehavin'
12. On the Sunny Side of the Street
13. My Last Affair
14. My Last Affair
15. Robbins Nest (Breakdown)
16. Robbins Nest
17. Robbins Nest
18. Robbins Nest

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The very fact that America’s biggest jazz label called one of their albums quite simply “Ella and Louis” indicates that we are talking about something very special here. And surely enough has been said – “Satchmo” and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the tracklist reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz-ballad is a feeling of “letting oneself drift” in the inspiration which gushes forth from the minds of genial American songwriters.

This is no contest – for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness. VERVE’s highly successful producer Norman Granz decided quite deliberately to make the recording in the studio instead of at a live session. And success has verified his judgement, for such vocal jazz knows only gentle tones – but the result is all the more intensive for that.

1. Can't We Be Friends
2. Isn't This a Lovely Day
3. Moonlight in Vermont
4. They can't take that away from Me
5. Under a Blanket of Blue
6. Tenderly
7. A Foggy Day
8. Stars Fell on Alabama
9. Cheek to Cheek
10. The Nearness of You

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From the seventh album in her celebrated Song Book series, Ella Fitzgerald tackled classic melodies written for Broadway and Hollywood by Jerome Kern, the grandfather of the modern musical comedy, with backing by the orchestra of Nelson Riddle, the dean of Hollywood pop-jazz arrangers. For lovers of great songs, great singing and great arrangements Ella Fitzgerald Sings the Jermone Kern Song Book is a triple threat.

Track Listings
1. Let’s Begin
2. A Fine Romance
3. All The Things You Are
4. I’ll Be Hard To Handle
5. You Couldn’t Be Cuter
6. She Didn’t Say Yes
7. I’m Old Fashioned
8. Remind Me
9. The Way You Look Tonight
10. Yesterdays
11. Can’t Help Loving That Man
12. Why I Was Born?

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It was a long road for the composer Irving Berlin: beginning with 'Alexander’s Ragtime Band' in 1911, leading him on via 'Cheek To Cheek', right up to 'Change Partners' in 1938 - it was one success after another. The once-heard, never-forgotten tunes found in the musicals 'Follow The Fleet' and 'Puttin’ On The Ritz' were simple little songs - taken from life itself. And Ella’s interpretations are just as simple and straightforward, while the arranger Paul Weston held back his soloists too. With the Irving Berlin Songbook, an album has been created in which the small variations on well-known melodies (such as 'Cheek To Cheek' and 'How Deep Is The Ocean') can be truly appreciated, and magical moments or lesser known songs discovered or hummed along to ('I Used To Be Color Blind' and 'Lazy'). But this is also an album which mirrors the history of the Broadway musical in the 1920s and ’30s, the majority of which were written by the Gershwins, Jerome Kern, Rodgers and Hammerstein, and a good many of them by Irving Berlin. Nobody knew the tricks of the entertainment trade better than Ella: not only a brilliant scat singer, she was also the very best interpreter of the ballad. And should you need any proof of this, just listen to any song contained within this Songbook (my tip: 'Reaction For The Moon' and 'Always'). Ella’s capability of giving a new interpretation to Irving Berlin’s songs doesn’t end there, however. The 'Song Is Ended' and 'Heat Wave' are rare jewels of swing against which singers right up to the present day are measured. Just why should you buy this particular Songbook? There are two simple reasons: to listen to Ella’s voice and her immense variety is sheer pleasure, and Irving Berlin’s songs offer pure entertainment at the highest level.

1. Let’s Face The Music And Dance
2. You’re Laughing At Me
3. Let Yourself Go
4. You Can Have Him
5. Russian Lullaby
6. Puttin’ On The Ritz
7. Get Thee Behind Me Satan
8. Alexander’s Ragtime Band
9. Top Hat, White Tie And Tails
10. How About Me
11. Cheek To Cheek
12. I Used To Be Color Blind
13. Lazy
14. How Deep Is The Ocean (How High Is The Sky)
15. All By Myself
16. Remember
17. Suppertime
18. How’s Chances
19. Heat Wave
20. Isn’t This A Lovely Day
21. You Keep Coming Back Like A Song
22. Reaching For The Moon

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It’s something everyone has experienced: whether at one of the great jazz festivals in Berlin, Montreux or Paris, or in a small, provincial jazz club which exudes the charm of a dingy jazz cavern in the Fifties - you sit, listen, and then rack your brain to remember the name of the number which the young jazz musician is playing with all his heart. Just what was the name?

Put the 'Ella Sings The Rodgers And Hart Song Book' album on your turntable and you’re guaranteed to recall “My Funny Valentine”, “Blue Moon” and “It Never Entered My Mind”. All these and many more excellent ballads flowed out of the pens of the songwriting team - and each and every one of them is a winner.

But don’t make the mistake of associating merely scat singing taken at a cracking pace with the most famous (the name ‘Ella’ is a fully adequate epithet) and the BEST (for that’s what she is and she will remain so!) jazz vocalist between 1930 and 1995: this album more than demonstrates her excellent powers of expression and her brilliant modulations. The ballads are done true justice in these sensitive, almost subdued arrangements by the West Coast film music expert Buddy Bregman, which put Ella’s voice, Richard Rodgers’ melodies and Lorenz Hart’s lyrics in the limelight. With the exception of “Blue Moon”, all the numbers are themes taken from Broadway musicals, virtually none of which will ever have been seen by us, but whose evergreen melodies will remain in our memories for ever. What is more, there is a special treat for us in store on this album: three titles are now appearing on stereo-LP for the very first time. A further milestone along the road of jazz singing is at last re-released with this song book: it constitutes an important documentation of Ella’s musical path which began with the children’s song “A-tisket, a-tasket”.

1. A Ship Without Sail
2. Bewitched
3. Blue Moon
4. Dancing On The Ceiling
5. Give It Back To The Indians
6. Have You Met Miss Jones?
7. I Could Write A Book
8. I Didn't Know What Time It Was
9. Isn't It Romantic
10. I Wish I Were In Love Again
11. It Never Entered My Mind
12. Johnny One Note
13. Little Girl Blue
14. Lover
15. Manhatten
16. Mountain Greenery
17. My Funny Valentine
18. My Romance
19. Spring Is Here
20. Ten Cents A Dance
21. The Lady Is A Tramp
22. There's A Small Hotel
23. This Can't Be Love
24. Thou Swell
25. Wait Till You See Her
26. Where Or When
27. You Took Advantage Of Me

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Vocalist Stacy Kent is an exceptional ballad interpreter, and she puts a unique sound and delivery to this collection of covers. She makes each song her own, and is backed here by a tight-knit group of professionals, including her husband, Jim Tomlinson, who contributes clarinet and tenor sax. Dreamsville hit the Swedish Pop Charts in 1999 and won the Gold Award in Japan's Swing Journal that same year.

1. I've Got A Crush On You
2. When Your Lover Has Gone
3. Isn't It A Pity?
4. You Are There
5. Under A Blanket Of Blue
6. Dreamsville
7. Polka Dots And Moonbeams
8. Hushabye Mountain
9. Little Girl Blue
10. You're Looking At Me
11. Violets For Your Furs
12. Thanks For The Memory

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This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carolos Jobim (or Tom Jobim), along with the stylish and noninstrusive arrangements of Oscar Carolos Neves. The trio changed the world in the early 1960s with its Getz/Gilberto albums. With Neves, they almost did it again, but with all the crap falling down around them in the musical climate of the mid-'70s – fusion, disco, overblown rock, and the serious decline of jazz – this disc was critically overlooked at the time. Joining these four men in their realization of modern bossa and samba are drummers Billy Hart and Grady Tate, percussionists Airto, Ray Armando, and Ruben Bassini, bassist Steve Swallow, pianist Albert Daily, and Heliosoa Buarque de Hollanda singing the English vocals as a fill-in for Astrud Gilberto – who was not invited to join this session and would have declined if she were. The most beautiful thing about this recording is that Jobim – whose song forms had reached such a degree of sophistication that he was untouchable – chose to write all of his lyrics in English…This is something that did not come naturally or effortlessly to Jobim, but sounds as if it did.

1. Double Rainbow
2. Aguas De Marco (Waters Of March)
3. Ligia
4. Falsa Baiana
5. Retrato Em Branco E Preto (Picture In Black And White)
6. Isaura (You Know I Just Shouldn’t Stay)
7. Eu Vim Da Bahia
8. Joao Marcelo
9. E Preciso Perdoar
10. Just One Of Those Things

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Some of soprano saxophonist Steve Lacy's most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Steve Lacy made several recordings that displayed his love of Thelonious Monk's music plus his varied experiences. On this particular set, Steve Lacy's soprano contrasts well with Charles Davis' baritone on three of the most difficult Thelonious Monk tunes ('Introspection,' 'Played Twice' and 'Criss Cross') plus two Cecil Taylor compositions and Charlie Parker's 'Donna Lee.'

1. Louise
2. Introspection
3. Donna Lee
4. Played Twice
5. Air
6. Criss Cross

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This title is not eligible for further discount.

It is highly likely that many of the twelve tracks on this LP will seem familiar. In the 30s and 40s, when Gene Krupa broke away from Benny Goodman and established his own big band, these numbers were heard daily. Indeed, many of them were released by Columbia Records on 78rpm shellac discs. When Krupa signed a lucrative contract which was offered to him by Norman Granz from the Verve jazz label in the mid-Fifties and went on tour with Jazz At The Philharmonics, the idea was born to re-record the numbers using hi-fi. Young arrangers were commissioned to revamp the familiar themes and former stars such as the trumpeter Roy Eldridge and the singer Anita O’Day were brought into the studio. History has it that nothing brought Gene Krupa more pleasure than making this new recording. And his pleasure is clearly discernible on both sides of the album. It begins with 'Let Me Off Uptown', a witty dialogue between voices and trumpet, and ends with 'After You’ve Gone', a number hard to be equalled. In between are ten numbers in which Gene beats his heart out on the drums, Roy shines out on his brilliant trumpet, and Anita with her deep voice drags behind the beat with wonderful timing. Big-band jazz at its very best, not in the least dull or outdated, performed not by veterans but by mature experts – that is what you get a dozen times over with this disc: twelve numbers, well-known for many, many years, but all given a new look.

1. Let Me Off Uptown
2. Rockin’ Chair
3. Opus 1
4. Fish Fry
5. Drummin’ Man
6. Drum Boogie
7. Boogie Blues
8. Leave Us Leap
9. Slow Down
10. Wire Brush Stomp
11. That’s What You Think
12. After You’ve Gone

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This is just a taste of the tremendous shows at The Village Vanguard in December of 1960. Gerry Mulligan assembled many of jazz's top musicians to play complex and striking arrangements that also allowed for great improvisation. Amongst the players are trumpeter Clark Terry, trombonist Bob Brookmeyer, drummer Mel Lewis, clarinetist and alto saxist Gene Quill, and Mulligan himself on baritone.

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Gerry Mulligan's sessions with Ben Webster, Johnny Hodges and Paul Desmond belong in every well-stocked LP collection of jazz fans all over the globe. But if you happen to have missed out, then here's the chance to buy a fantastic, top notch re-release and put the needle to the groove as fast as you can. From first to last, you will hear what made jazz what it is from its beginnings around 1900 up to the present day: communication and interaction. Two highly sensitive, top calibre musicians neither of them easy men to deal with were invited into the Verve Studio towards the end of 1959. Here they prepared themselves well, practiced together, and devoted themselves to six numbers in a relaxed atmosphere of mutual respect where neither attempted to blast away the other. The numbers all come from the Duke Ellington Songbook and Gerry Mulligan's own, and are a sure guarantee for the best of the best. It must be mentioned that one of the best rhythm groups of westcoast jazz Jimmy Rowles, Leroy Vinegar and Mel Lewis provide the amazingly sensitive background for these two giants of mainstream jazz. The excellent recording technique of the Verve Studio in Los Angeles ensures that even 50 years later every single note played on baritone and tenor saxophones is sheer pleasure.

1. Chelsea Bridge
2. The Cat Walk
3. Sunday
4. Who's Got Rhythm
5. Tell Me When
6. Go Home

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Mulligan's 13-piece band in a great stereo recording from 1960. Two different ensembles including players such as Gene Quill, Bob Brookmeyer, Conte Candoli, Dave Bailey, Buddy Clark, Zoot Sims, and Mel Lewis.

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Two names spring to mind upon hearing the words jazz and samba, namely those of Stan Getz and Joo Gilberto. But really one should be thinking of Antonio Carlos Jobim, who, with his composition from 1958 Chega de saudade, first created the type of Brazilian samba that is known today as bossa nova. It was with one of Jobim's songs, Desafinado, that the bossa nova began its triumphant conquest of the USA. In 1962, Stan Getz made the work widely known when he recorded the number, together with Charlie Byrd, on his album Jazz Samba (Verve V6-8432). And it was this recording, along with Focus (1961), which was responsible for Getz's definitive comeback in the USA at that same time. Jazz Samba opened the floodgates to a new musical vogue, and although cool jazz had been swept aside by hard bop, the reserved and melancholy touch of Getz's style once again became all the rage. It is really not at all surprising, therefore, that the album Getz/Gilberto, recorded in March 1963 for the Verve label, was a winner right from the very start, bringing together as it did the two godfathers of samba Jobim and Gilberto with their American brother Getz. This music is like a pleasantly warm bath whose water is perfumed with essential oil, or like a mild summer night bathed in golden moonlight. The songs, all of them now classics in their own right, are filled with the joy of life, peace and harmony. What more can one possibly desire?

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At last, one might cry, at last these gems are available again after so many years! Strangely enough, connoisseurs of fine sound and music with a difference have been very reserved when it came to expressing their appreciation of the arranger, composer and conductor Gil Evans. Gil's milestones in jazz history (his work with Miles Davis and his melancholy trumpet is now legendary) have become entrenched in our memories thanks to his unusual combination of instruments: waldhorns, tuba, oboe - all played by jazz musicians. Speakers Corner has done it again, not to be missed!

1. The Barbara Song
2. Las Vegas Tango
3. Flute Song
4. Hotel Me
5. El Toreador

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It was often very frustrating for producers at the Blue Note label to have their superstars bought up by other recording companies. That’s precisely what happened to the greatest guitarists of the Sixties – Wes Montgomery and Grant Green who is now heard on the present disc. Neither of them were able to enjoy the big money, however, for they both died young. Verve’s producer Creed Taylor took care to give Grant Green a more up-to-date musical framework, ensured that he had plenty of time in the studio, and that the stereo recording technology was the best of its day. The two themes on the A side are developed tranquilly and provide a basis for long improvisations not only by Grant Green but also by Larry Young. Here, in this soundworld, Young at last manages to throw off his 'Jimmy Smith sound' and develops his own colouring. The tenor sax player Harold Vick is heard only in a few numbers: in particular he lends a new sound colouring to 'The Cantaloupe Woman' where the interplay between wind and strings is of constant interest.

1. The Selma March
2. Willow Weep For Me
3. The Cantaloupe Woman
4. That Lucky Old Sun
5. Daddy Grapes

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The Incredible Jimmy Smith – that’s what is says so confidently on the cover with the black cat! The law demands that what is promised must be delivered – and a record collector is no less demanding. The fact that Smith moved the Hammond organ from the dance floor to the jazz scene and upgraded it to become a fully-fledged improvisation instrument is to be found in every good dictionary of music. But what resulted must be heard to be believed.

No problem for our cat, crouched low and ready to pounce. She slinks along the Rhythm and Blues path, purrs through the night, steps nimbly to the St. Louis Blues, and gives the somewhat aged Basin Street a gentle blow with her paw. In the background is her powerful clan: Kenny Burrell with his firm grip, Don Butterfield with his strong tone, the thundering Grady Tate, and last but not least Lalo Schifrin, who watches over the haunt with a glinting eye. And then of course there is the VERVE gang – who made a recording that is as black as the cat herself. Incredible!

1. Theme from Joy House
2. The Cat
3. Basin Street Blues
4. Main Title from The Carpetbaggers
5. Chicago Serenade
6. St. Louis Blues
7. Delon's Blues
8. Blues in the Night

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Jimmy Smith and Wes Montgomery were as influential in the Sixties as they were popular. Smith brought the Hammond organ out of the chicken shacks and into mainstream jazz. Guitarist Montgomery is legendary for his choruses of octaves and strummed chords. And the two have complementary personalities: Smith's rushed intensity make Montgomery seem serene by contrast.

1. Down by the Riverside
2. James and Wes
3. Night Train
4. 13 (Death March)
5. Baby, It's Cold Outside

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When someone such as Joe Williams (not be confused with Big Joe Williams) speaks of himself in one breath with the blues, then he is claiming a privilege, which can only be granted to a very few. But then - Williams, who grew up in the blues metropolis Chicago and performed as early as the Thirties with Jimmie Noones and later with Coleman Hawkins and Lionel Hampton, is one of the first and last of the great big band singers at one and the same time. As one of the permanent great musicians of the Count Basie Band, he helped the ensemble to renewed popularity in the Fifties, but then turned his attention to smaller bands, returning in later years to the all-star ensemble as a 'special guest'. 'Me And The Blues' manifests itself as blues from a modern viewpoint in that it amalgamates the austere, gritty primeval sound of the Southside with a brilliantly arranged big band sound. The result of this extremely pure synthesis of sound (also from a technical standpoint) reveals a variety of blues that integrates such elements of mainstream jazz as were typical of the day. It is no wonder therefore that all the great names such as Thad Jones, Clark Terry, Ben Webster and Kenny Burrell gathered together to participate as soloists or in the background in this recording.

1. I'm Sticking with You, Baby
2. Me and the Blues
3. Every Night
4. Rocks in my Bed
5. Come on Blues
6. Workin' (Work Song)
7. Soothe Me
8. Early in the Morning
9. Good Morning Heartache
10. Kansas City
11. A Woman
12. Hobo Flats

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Right from the very first hearing, absolutely every single jazzcritic shared the same opinion – whether trained musicians or not, true or would-be jazz expert: “A Love Supreme” is John Coltrane’s most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane’s deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

The first section, entitled “Acknowledgement”, has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane’s meditative singing creating immense tension.

In “Resolution” Coltrane’s powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo.“Pursuance”, with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane’s later ‘free’ phase.“Psalm” is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane.“A Love Supreme” has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today, in 2001, the year in which John Coltrane would have celebrated his 75th birthday.

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This was the album that changed the way people looked at John Coltrane as a jazz artist. Early in his career, Coltrane was generally looked upon as a wild and unbrideled avant-gardist. However, when this record was released, his fans and critics alike were made to stop and take notice of the refined, musicality of this work. Coltrane is expertly backed by McCoy Tyner, Jimmy Garrison and Elvin Jones.

1. Say It (Over and Over Again)
2. You Don't Know What Love Is
3. Too Young to Go Steady
4. All or Nothing at All
5. I Wish I Knew
6. What's New?
7. It's Easy to Remember
8. Nancy (With the Laughing Face)

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This title is not eligible for further discount.

Johnny Hartman was many a jazzman's favorite singer for his musical acumen, gorgeous voice, and the sheer class that he exuded. This collaboration with saxophonist John Coltrane was a major success in every way for both of them. Be assured that this is no gmere uest star turn for Coltrane since he's working as before with drummer Elvin Jones, bassist Jimmy Garrison and pianist McCoy Tyner.

The list of great performances here extends from the nearly-defnitive version of ''Lush Life'' to ''They Say It’s Wonderful'' which sounds as though it is clad in black silk, to the lyrical ''My One And Only Love.'' right up to the light-footed rumba ''Autumn Serenade.'' Here are six true masterpieces which will get right under your skin. Llisten to how relaxed and self-assuredly the crooner’s great voice carries the melody, which is then taken up and continued by John Coltrane on his instrument. Coltrane's Ballads record and his work with Duke Ellington had already demonstrated that he was a master of slow tempi and in this LP he once again paces slowly down this path.

This production which was produced by Bob Thiele and recorded by Rudy Van Gelder in March of 1963 and this is the best vinyl re-issue to date.

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John Lee Hooker himself did not know his exact date of birth. If he hadn’t died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock ‘n’ roll’s Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.

And another surprise is in store for those who compare Hooker’s late recordings with those made in the Sixties. His unmistakable, raw voice has fully matured, but his incantory style of singing appears markedly finer and more flexible. And then there is the perfect gem of a rhythm group whose sinewy sounds fill the grooves with merciless gravitational force. It’s enough to make your spine tingle!

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Unfortunately, jazz fans in this century are forced to enjoy a concert by Johnny Hodges or Duke Ellington from the comfort of their television armchair. The climax of any of these recorded concerts is always found in the lyrical, gentle solos of the first-rate alto saxophonist. And one can see for oneself how seemingly effortlessly the notes just pour out of his instrument and how his restless eyes search contact with the audience. The melodies were almost always penned by Billy Strayhorn, Duke’s friend and alter ego.For the jazz producer Norman Granz, it was a foregone conclusion to record an LP with the two lyricists. And for Johnny Hodges, who had already released more than a dozen LPs to his name, this particular recording was to be the summit of his career. The swinging, schmaltz-free carpet of sound of Duke Ellington’s orchestra might well be better likened to the swell and surge of a calm sea over which the archlike melodies are allowed to unfold. Such a mood is virtually impossible to express in words - which is logical - for if it was easy then musicians would be authors, not musicians ...

One shouldn’t be tempted to first pick out the new titles such as “Your Love Has Faded” or “Tailor Made” in the belief that there is nothing new to discover in such numbers as “Don’t Get Around Much Anymore”, “Day Dream” and “I’m Just A Lucky So And So”. That would be a real mistake - for it is precisely these catchy melodies, bedded in amongst the others, that make this album so exciting!And just listen to these wizards from the Ellington Band: they obviously thoroughly enjoyed performing ‘in the background’ for a change instead of playing solo and standing in the limelight.

There is plenty of good to be discovered in Johnny Hodges (even if gossip has it that he was no angel!), but for that you need the recordings being available. Thanks to the top-quality of this re-release of Verve 8452 you certainly don’t have to place top-bids at an auction anymore!

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In 1969, when Jose Feliciano aroused the American people’s anger by singing live a soul version of their national anthem, the “Star-Spangled Banner”, he assured himself the reputation as one of the most successful cover-version performers of all times. He even carried off two Grammy awards for his soul version of the Doors number 'Light My Fire' which is found on the present recording. But this album, which proudly bears the title 'Feliciano!', does not merely excel for its hits from the Sixties such as 'California Dreamin’', 'Sunny' and three smash hits by the Beatles. It also reveals this entertainer’s stupendous musicianship on the acoustic guitar, and pampers the listener with creamy string arrangements and a thrilling Latino drive.

The very fact that the double bass jazz player Ray Brown can be found in the ensemble listing is an indication of the versatility of the musical concept of this disc. It might defy any attempt to put it in a pigeon hole, but it certainly deserves a place of its own on the record collector’s shelf!

1. California Dreamin'
2. Light My Fire
3. Don't Let The Sun Catch You Crying
4. In My Life
5. And I Love Her
6. Nena Na Na
7. (There's) Always Something There To Remind Me
8. Just A Little Bit Of Rain
9. Sunny
10. Here, There And Everywhere
11. The Last Thing On My Mind

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Import

Except for the taping of a live performance at the Portland Festival, Miles Davis' 1966 discography only lists Miles Smiles which was unusual considering the large output Miles and his ensembles produced for Columbia Records in the Sixties.

The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles’s 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as "Freedom Jazz Dance" by Eddie Harris and Jimmy Heath’s "Gingerbread Boy".

Every second of the nine-minute-long "Footprints" by Shorter is an absolute highlight, while the drumming of the young Tony Williams in "Freedom Jazz Dance" is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That’s exactly what Miles Smiles was upon its release 40 years ago and that’s exactly what it has remained to this day!

Recording: October 1966 at Columbia Records­ Studios, New York, by Frank Laico Production: Teo Macero

1. Orbits
2. Circle
3. Footprints
4. Dolores
5. Freedom Jazz Dance
6. Ginger Bread Boy

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The flying fingers of steel guitar virtuoso Buddy Emmons — unspooling blazing lines that nobody had ever heard before — made him an obvious choice for Grand Ole Opry's national spotlight and to tour in the bands of country icons Ernest Tubb, Ray Price, Little Jimmy Dickens and Roger Miller. But this one-time child prodigy from Mishawaka, Ind., who'd picked up the instrument at the age of 6, was always looking beyond the Nashville skyline to play in settings that would stretch his prodigious talent to the max. In 1963, Buddy Emmons conquered his musical Everest by hooking up with tenor sax man Jerome Richardson, pianist Bobby Scott, bassist Art Davis and drummer Charlie Persip to cut a landmark jazz album that opened a lot of eyes and added steel guitar to the jazzman's ever-expanding arsenal. In restoring this rare classic to vinyl, Steel Guitar Jazz has been cut from the original Mercury Records stereo masters — and it sounds positively devastating! One of our absolute all-time faves!

1. Bluemmons
2. Any Time
3. Where or When
4. Indiana (Back Home Again In Indiana)
5. Gravy Waltz
6. Oleo
7. The Preacher
8. Cherokee (Indian Love Song)
9. Witchcraft
10. Gonna Build a Mountain
11. There Will Never Be Another You

4th August 1952: apparently a particularly auspicious day in the life of Lester Young, known as 'Prez'. When he entered the New York studio with the Oscar Peterson Trio, he had absolutely no idea that twelve wonderfully swinging yet totally relaxed numbers would be set down by the producer Norman Granz. Two years previously the boss of Norgran and later of Verve signed a contract with Lester, although the musician’s physical and mental condition (as a result of excess alcohol, drug abuse and other vices) did not really warrant this. But his success at 'Jazz At The Philharmonic' and full concert halls in Europe filled the jazz tenor with new vigour. He lent genial virtuosity to both standard and blues themes; he latched on to the harmonies of the Oscar Peterson with immeasurable creativity. While laboriously earning his daily bread with Fletcher Henderson and Count Basie’s big bands, the jam in the sandwich was provided by the small ensembles where he performed with the singer Billie 'Lady Day'. But the topping on his cake was definitely his long improvisations on blues themes (which were recorded without a time limit), such as the free 'Ad Lib Blues' on this album, and those on standards from the American Songbook. His dry though mature renderings of 'Tea For Two' and 'Almost Like Being In Love' - free of unnecessary ballast, relaxed and without vibrato - have lost nothing of their fascination over the years. The 50-year span is quite unnoticeable, at least in this excellent re-release. There’s not a speck of dust anywhere to dull the shine!

Ad Lib Blues
Just You, Just Me
Tea For Two
Indiana
I Can't Get Started
On the Sunny Side of the Street
Almost Like Being in Love
There Will Never Be Another You

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Little Walter�s ascent to becoming one of the greatest exponents of the sound known as Chicago blues began in 1951 when he became a fixed member of Muddy Waters� band. Two years later he established his own group and rocketed to the top of the rhythm-and-blues charts with smash hits such as 'Juke', 'Sad Hours' and 'My Babe'. Along with his virtuoso technique and his love of experimenting with echo effects, Walter is noted for his clear, unfussed style which occasionally brings back memories of Louis Jordan�s saxophone melodies, thereby taking up influences from popular jazz.It is astonishing that Walter�s heritage is so small. Of the 100 recorded titles he recorded, only about half of them were ever released. The present album offers a portrait of the 'King of the pocket organ' and covers the whole spectrum of his playing, his instrument sometimes sounding like the human voice, a saxophone, or a snarling electric guitar. Harp fans and lovers of traditional blues certainly shouldn�t hesitate to secure their copy of this album

1. My Babe
2. Sad Hours
3. You're So Fine
4. Last Night
5. Blues With a Feeling
6. Can't Hold Out Much Longer
7. Juke
8. Mean Old World
9. Off the Wall
10. You Better Watch Yourself
11. Blue Lights
12. Tell Me Mama

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The musical collaboration between the pianist and arranger Marty Paich and the drummer and singer Mel Tormé was particularly fruitful. Among the dozen LPs they made for various labels, 'Swings Shubert Alley' for Verve is an absolute highlight. This is no wonder, if one takes a look at the old favorites it contains. All are composed by top musical composers ranging from Oscar Hammerstein, Cole Porter up to Leonard Bernstein. Not to forget 'On The Street Where You Live' from 'My Fair Lady'!

Born in 1925, Mel Tormé was a professional drummer before he could be persuaded to try out another instrument – and to be sure, it is his rhythm, his beat, characterized by the relaxed swing of a west coast drummer, which makes him so special. All the song titles come from the two decades between 1940 and 1960, and according to Marty Paich one of the main criteria for their selection was whether or not they had jazz potential. All twelve titles certainly do and they all offer great opportunities for soloists Art Pepper, Frank Rosolino and Bill Perkins to show off their prowess. However the songs must suit the singer too, and have suitable lyrics – and it must be said: they fit swinging Mel like a glove. Just listen to 'Hello, Young Lovers' and 'Just In Time' for confirmation of that! Although both numbers only have a very simple melodic line, they are greatly enhanced by Mel Tormé’s improvisational talents. There’s not a single number among these twelve tried and tested old favorites which could be considered a flop. Tormé and Paich prove that simple melodies can come up a winner if given attractive and thrilling arrangements. The listener will appreciate the excellent stereo recording technique which captures a broad range of timbres and allows the solo voice to swing on a soft bed of sound.

1. Too Close for Comfort - 3:59
2. Once in Love With Amy - 3:08
3. A Sleepin' Bee - 3:29
4. On the Street Where You Live - 2:51
5. All I Need Is the Girl - 3:03
6. Just in Time - 3:23
7. Hello, Young Lovers - 3:06
8. The Surrey With the Fringe on Top - 2:57
9. Old Devil Moon - 2:46
10. Whatever Lola Wants - 3:18
11. Too Darn Hot - 2:44
12. Lonely Town - 3:39

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Charles Mingus’s name appears no less than five times on the record sleeve! His vanity may be open to criticism, but in the case of this particular disc, the Impulse record company was quite right to place him so forcefully in the limelight: Charles Mingus, who died in 1979, is here composer, bass player, arranger, leader and ‘animal tamer’. He composed six of the seven numbers - if you can call it ‘composing’, that is, when he sings the harmonies over the telephone or plays them to his musicians, only to demand exactly the opposite from them in the recording studio! As a bass player, his meaty sound drives the soloists onwards, only for him to change the tempo abruptly at the very next moment, and forcing them to change their well-trodden improvisational path.

He learned to arrange music from Duke Ellington, whose way of working he adopted: notes are not set down for just anyone to play, but for a specific musician. And here we have the crème de la crème: Booker Ervin, Eric Dolphy and Charlie Mariano.

As a leader, Mingus created his own special moments such as when he forces the whole ensemble to follow him in his spontaneous, contrapuntal ideas.

And during the whole of his life he felt like an animal tamer in the music pit. At these recording sessions in January and September 1963, real personalities sat on the stools - and Messrs. Byard, Williams, Preston and Richmond were by no means meek little creatures.

Looking for a tip as to which title to play first? What else can one say but ‘try them all’. They’re all great! And the pressing too, is absolutely first rate, with none of the streaks that the old Impulse vinyl records always had. One is only too willing to forego the wishy-washy sound that is found on so many of the cheap re-releases - you’ll find that the playing of the ensemble is crystal-clear on this album!

1. II B.S.
2. I X Love
3. Celia
4. Mood Indigo
5. Better Get Hit in Yo' Soul
6. Theme for Lester Young
7. Hora Decubitus

This title is not eligible for further discount.

This title is not eligible for further discount.

This MPS recording from 1976 has tremendous presence, capturing this fine trio at the top of their form.

1. Nite Mist Blues
2. Feelings
3. Satin Doll
4. Work Song
5. Drown in My Own Tears
6. Battle Hymn Of The Republic

This title is not eligible for further discount.

This title is not eligible for further discount.

We can thank our lucky stars that Nina Simone was well aware of her musical environment and enjoyed experimenting with it, despite her notorious eccentric personality. This was the only reason that so much basic repertoire, traditional blues numbers, black work songs and favorite white show melodies – all filled with a deep soul feeling – reached her fans. Emergency Ward! Is no exception. First there is the explosive medley, recorded live, of George Harrison's 'My Sweet Lord' and David Nelson's 'Today Is A Killer.' Accompanied by a small combo and a gospel choir, Nina Simone ignites an 18-minute blazing bonfire, which loses none of its spiritual fire for even a second. In contrast to the gentle 'Poppies,' extravagantly produced with strings, woodwinds and chorus, is the questioning 'Isn't It A Pity,' arranged for piano. Here, simple, throbbing harmonies are occasionally allowed to swell into clouds of chords, giving Nina Simone the opportunity to show off her highly diversified vocal timbre, which fades away into nothing like an unanswered question. This is an exceptional album filled with a wealth of feeling and one which will leave no one untouched.

1. My Sweet Lord
2. Today is a Killer
3. Poppies
4. Isn't It a Pity

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Musicians certainly don't have it easy with record companies. First of all they must struggle to even get a contract. Then, when their debut release has proved a success, they are bandied around from one arranger to another in all the recording studios imaginable. But having been treated with such sounds as a snappy combo, meaty bigband, and smoochy string orchestra, there at last comes an opportunity for some artists to be themselves again. This album wholly concentrates on Nina Simone and demonstrates that she does not need help from anyone else in order to bring her strikingly expressive voice into the limelight. Accompanying her in her songs about loneliness, identity crises, and desires is her faithful friend, the piano, which she masters equally as well as her voice. The piano parts are far more than just casual accompaniments. Varying from number to number, they range from a classical, bluesy sound, to late-Romantic fervour, right up to avantgarde aggression. And yet all these pieces have something in common: filled with bizarre beauty, they portray a complex personality with all its ups and downs.

1. Seems I'm Never Tired Lovin' You
2. Nobody's Fault But Mine
3. I Think It's Going To Rain Today
4. Everyone's Gone To The Moon
5. Compensation
6. Who Am I
7. Another Spring
8. The Human Touch
9. I Get Along Without You Very Well (Except Sometimes)
10. The Desperate Ones

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Track Listing

1. Do I Move You
2. Day And Night
3. In The Dark
4. Real Real
5. My Man's Gone Now
6. Backlash Blues
7. I Want A Little Sugar In My Bowl
8. Buck
9. Since I Fell For You
10. The House Of The Rising Sun
11. Blues For Mama

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The present album rings in the era of cover versions and appeared at the time when Bob Dylan’s departed from the path of folk singer to travel down the road of ‘electrified’ rocker. The needle barely has to touch the groove before it become quite clear just why this record tops the list of early Dylan cover productions. Two acoustic guitars and a bass are all that Odetta would tolerate to provide a stage for her now swinging, now bluesy ‘original instrument’ - as the black singer described her voice. The rest was taken care of by the genial arrangements which most certainly contributed to the rather taxed 'Tambourine Man' giving a ten-minute long peak performance.

In addition, Odetta renders songs which the great man himself never ever set down. Original versions of 'Baby, I’m In The Mood For You', 'Walking Down The Line' and 'Tomorrow Is A Long Time' never appeared in the Sixties. And the songs 'Long Ago, Far Away' and 'Long Time Gone' were never released on any of the official Bob Dylan records. But who needs all this background knowledge to enjoy this music to the full?

1. Baby, I'm in the Mood for You
2. Long Ago, Far Away
3. Don't Think Twice, It's Alright
4. Tomorrow is a Long Time
5. Masters of War
6. Walkin' Down the Line
7. The Times They are A-Changin
8. With God on our Side
9. Long Time Gone
10. Mr. Tambourine Man

This title is not eligible for further discount.